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Hi, newbie here!I'm a big fan and as I recently re-watched the entirety of Peaks I was excited to be given the opportunity to blog about it.I detail my observations of the ups and downs of Peaks from it's debut, and speculate (from what info we have) as to what we may expect.I hope it's reasonably adept in the eyes of the hard-cores!http://rocking-mama.com/2017/05/05/the-return-of-twin-peaks/

some of the characters, especially the lead Laura Palmer, look entirely too old to be in High School. And unlike all of the men in Twin Peaks, we as viewers aren’t given the chance to fall in love with her. From start to finish she’s frazzled and stressed, she never appears beautiful and we never see the vulnerable sex kitten that we should want to protect.

awfull... misoginist COMENT.... "she never appears beautiful and we never see the vulnerable sex kitten that we should want to protect. " WHAT????

Last edited by secretlettermkr on Wed May 10, 2017 6:32 pm, edited 1 time in total.

Now, I love David Lynch, I’m a big fan. But I prefer his movies that make some sense. The Elephant Man, Blue Velvet and The Straight Story are easy to follow and are rewarding to get involved in. Lost Highway or Inland Empire, on the other hand are not. Frankly, I am adverse to movies made with the intent to be open to interpretation. For me, that’s cheating. It’s like a puzzle without a solution, and that is something I’d rather not waste my time with.

-Im sorry you dont find rewarding the chance to interact at an emotional and intelectual level with the movies, but you call CHEAT to this gift that Lynch offers? you are most certainly cheating yourself...

Mulholland Drive, a Lynch masterpiece, is kind of in-between. It’s fun because there is much to decipher, almost certainly between what is dream and what is not. But Lynch angered me, yes angered me, when his book (Catching the Big Fish) featured a chapter called, “The Box and the Key”. It was a title that practically promised an explanation behind those two extremely pivotal props from the film. I raced to the page, anxious to learn what they really are, where they come from, and hopefully unlock the films’ riddles. Instead, the chapter lasted but seven words: “I have no idea what those are”.

And that’s exactly what I don’t want for the TP reboot – unanswered questions. I want to know the fates of my beloved classic characters, and I look forward to pondering those of new favorites. There’s a difference between ambiguity and mystery, and for this cult institution called Twin Peaks, I prefer the latter.

Oh, my, secretlattermkr, those weren't responses I was expecting to elicit. I certainly didn't expect to be called a misogynist. But I respect your opinions, there is no disputing your unconditional love for Lynch, and I think that's cool! But I'm sorry you were offended, I would never have anticipated that any one would be. But my blog is solely a reflection of my own opinions, and I would be naive to expect everyone to agree,Thanks for reading!

You're not misogynist, you're entitled to your views when they are reasoned, as they are.

I don't think much of what Lynch does in Twin Peaks is open ended. Whether he and Mark Frost intend it or not, there's rhyme and reason to the show's great complexity, that's what makes masterpieces like Lord of the Rings (the book ... the Peter Jackson film is ****) and early series of The Simpsons.

I liked your essay for the challenges to my views. My feedback: Regrettably l've not read Catching the Big Fish, l shall order it today. Could it be that Lynch meant he really did not know the meaning of the box and key, so that's hardly him messing the reader around is it? Also, could it therefore mean that he and Frost are receiving messages from mystical forces that they have little authority over? If so, that could be key to understanding Lynch and Frost rather than their work being open-ended.

By the way, was the Box and Key about Twin Peaks, that box containing the bank vault key?

I like how your essay presents public ennui which derailed the series in Season 2. I'm left wondering if really, everything unfolded as it should have - not in the sense of the crappy subplots in the Season Two Dip, but in the way that Lynch & Frost were left uncorrupted by the workaday stuff that ppl might demand such as explosions, helicopter chases, etc. I mean, too much popularity can go to a man's head and make him produce rubbish (Ridley Scott's Prometheus?), so perhaps it's proper that people didn't get the connection with aliens (despite it being spelled out by Major Briggs), the heroism of Leo Johnson right at the end, the fact that FWWM is prequel and sequel, etc. etc. but don't you think it's quite something that, 25 years later, Season 3 was actually wrapped up as Laura Palmer promised? So, although Lynch and Frost, et al, probably didn't enjoy being cold shouldered by the public, everything's gone to plan, so the franchise works on multiple levels, the mainstream are validated in their views (but they got thrills along the way) because all's well that ends well 25 years later we're on track; and also those who dig deeper into the storyline are exceedingly glad!

Speaking of digging deeper, this from Wikipedia, about "Catching the Big Fish": The title refers to Lynch's idea that "ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you've got to go deeper".

StrangerDanger wrote:You're not misogynist, you're entitled to your views when they are reasoned, as they are.

I don't think much of what Lynch does in Twin Peaks is open ended. Whether he and Mark Frost intend it or not, there's rhyme and reason to the show's great complexity, that's what makes masterpieces like Lord of the Rings (the book ... the Peter Jackson film is ****) and early series of The Simpsons.

I liked your essay for the challenges to my views. My feedback: Regrettably l've not read Catching the Big Fish, l shall order it today. Could it be that Lynch meant he really did not know the meaning of the box and key, so that's hardly him messing the reader around is it? Also, could it therefore mean that he and Frost are receiving messages from mystical forces that they have little authority over? If so, that could be key to understanding Lynch and Frost rather than their work being open-ended.

By the way, was the Box and Key about Twin Peaks, that box containing the bank vault key?

I like how your essay presents public ennui which derailed the series in Season 2. I'm left wondering if really, everything unfolded as it should have - not in the sense of the crappy subplots in the Season Two Dip, but in the way that Lynch & Frost were left uncorrupted by the workaday stuff that ppl might demand such as explosions, helicopter chases, etc. I mean, too much popularity can go to a man's head and make him produce rubbish (Ridley Scott's Prometheus?), so perhaps it's proper that people didn't get the connection with aliens (despite it being spelled out by Major Briggs), the heroism of Leo Johnson right at the end, the fact that FWWM is prequel and sequel, etc. etc. but don't you think it's quite something that, 25 years later, Season 3 was actually wrapped up as Laura Palmer promised? So, although Lynch and Frost, et al, probably didn't enjoy being cold shouldered by the public, everything's gone to plan, so the franchise works on multiple levels, the mainstream are validated in their views (but they got thrills along the way) because all's well that ends well 25 years later we're on track; and also those who dig deeper into the storyline are exceedingly glad!

Speaking of digging deeper, this from Wikipedia, about "Catching the Big Fish": The title refers to Lynch's idea that "ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you've got to go deeper".

Y' know, I consider myself an average viewer for the most part. I wouldn't pretend to be on the intellectual level of genius of Lynch/Frost. As such, I get frustrated by not understanding. LOL. I just like what I like, from Game of Thrones to Breaking Bad, and that slightly more-than-general point of view is what I was representing.

No, I was referring to the blue box and the key in Mullholand Drive. It's been a while since I've viewed it, and I need to be fresh to really tackle the mysteries of that film. But I was just making light of the idea that I thought Lynch was going to make it easy for me with that chapter, after countless interpretive speculations and discussions with friends as to what those items were or represented!

But yes, I grow more excited each day as May 21 draws near!

BTW - I loved Prometheus, although that required a lot of interpretation as well. Admittedly, I still don't understand it all, but I enjoyed it!